نشریه پژوهش هنر
پیاپی 18 (پاییز و زمستان 1398)

The Islamic revolution, has remaining very influential on the way people lived, changed the path of art and especially the photography of Iran. There are many photographs of the Revolution. By examining the visual cues, the changes in the cultural and artistic trends of that period can be better understood. Are there any shared signs between the images in the photograph and do they share certain meanings in the mind and if so, what meanings? These are main questions of the research. this research has done by descriptive analytical method and collected data by using library resources and databases, In addition to the study of semiotics and the views of the great activists in this branch, it was specifically devoted to Pierce's ideas. To conduct this research, 60 photographs were randomly selected from 6 Iranian photographers and the image cues in these photographs were analyzed based on the distribution of Pierce signs. Findings of the research show. The remaining images share a lot of things, and most of the signs have a symbolic character, and while showing the revolutionary and fighting spirit of the people, they transfer the humanitarian concepts to the minds of the viewer with Islamic tendencies

Cultural signs are simple graphic forms. Signs compressed by the rich culture of nations. They are view form content facial and conceptual countries in small modle also they have reflection of reserves the archetype a nation. Archetypes are primary and stable pattern mentally. They are product collective experience over the thousands of years. Archetype represent itself in every human aspect, including visual signs.
In this article to help attitude mythical and the archetype been tried for explore culture signs relevant to field of knowledge such of universities, publishers, research institutes (least ten samples indictor national and international).
The purpose this article is understand insight archetype that different civilizations had the meaning of knowledge.

One of problems of today’s society is the fact that the artist is away from the profession of other arts and various social groups, as well as disregard of art and artist by the above groups and the consequent weakness of art in the community. The importance of establishing social interactions and Face- To- Face of different social groups with the arts and artists, as well as artist with other social strata, and the subsequent recognition and understanding of the importance of these interactions in the advancement of society makes necessary the research about establish a suitable bed for the presence of a wide range of different social groups, and consequently, confrontation with artistic issues. In direction fulfill of the goal the article, wich is the appropriate design method for an effective social bed for make come true this social need, produced hypotheses in response to the question of what manners can be in the optimal design of the social center of artists through the adaption of visual and beauty arts architecture whit the philosophy of Emmanuel levinas. Levinas philosophy is a kind of moral phenomenology in the direction of the person’s Face- To- Face to one another or others, and the formation of the justice and the desired policy of a society that ultimately leads to the emergence of the transcendence of that society. In this research, the results of the study of visual arts and architecture as the architectural framework and the results are from Emmanuel Levinas’s Face- To- Face philosophy studies as a theoretical approach adapted together and finally considering the use of each of these new achievements in design of the social center of artists, hypotheses were created as the results of this study  which can be used to establish an appropriate and effective way for promotion and development of art, and consequently, the growth and progress of a community.

The world has faced complicated upheavals nowadays. Man has always tried to forsake these disasters and calamities and find an answer for them. He looks for a way to express these contrasts and conflicts in warning, intricate and thought provoking works of art. Nikzad Nodjoumi, one of the contemporary artists shows these oppositions by grotesque bodies in pieces, in a carnivalesque form. His work challenges the dominant power and demonstrate it with various elements. These works have specific qualifications which can be seen in Mikhail Bakhtin’s Carnival theory. Carnivalization in Literature is one of the most prominent ideas of Bakhtin which is a subsidiary of folk culture and irony. The inversion of the dominant hierarchy and common norms is one of the main functions of carnival. So, because of propinquity of Bakhtin’s ideas and the themes of these works, it is possible to investigate qualifications which focus on the appearance of Carnival perception of the world in Nodjumi’s works of art. Here, the question is how this power irony in Nodjumi’s artworks is illustrated. Establishing a relationship between everyday life affairs like carnival and power with Art, in a Bakhtinian reading of carnival, is the aim of this research. In his paintings, the contrast of formal with informal spaces and antonym affairs is seen. This contrast appears via a body in pieces and emergence of defective, odd and hybrid characters, manipulation of body organs and its repetition, integrating human body with animal body (human-animal), doing ordinary and trashy works, transvestitism and body cuts in a half-clownish format (Harlequin). This study is accomplished with library references in a descriptive- analytic method.

Today, one of the newly introduced approaches in the educational system is thought to be the instruction based upon the theory of multiple intelligence proposed by Howard Gardner that is founded on considering the different aspects of intelligence among the individuals. . This study is aimed at investigating the effectiveness and the usage of special painting methods based upon Howard Gardner`s theory on the spatial – visual intelligence among the preschool children that has been taken into consideration with regard to both the history and lack of information. Methodologically, the study is of the experimental type with both experimental and control groups and the participants mainly consist of 36 students( comprising two groups of students) that educate in two preschools of Isfahan.
All the students participating in the intelligence test known as " Raven " were classified in the pre- test and post-test groups in the experimental group , the painting instruction was conducted according to the components of spatial – visual intelligence in 15 sessions .The analyses obtained via ( through) the co-variance test demonstrated that the painting instruction has enhanced the children`s intelligence to a degree of 21% according to the features (characteristics) of spatial-visual intelligence. Likewise, the qualitative analyses conducted on the children`s paintings remarkably confirm the effectiveness of the aforementioned method, the research findings are indicative of the validity and the approved of the hypothesis and its effectiveness over the teaching methods in enhancing the extent of spatial-visual intelligence in the children

Civilization of Iran has affection in other nations and influenced by them in during the history, however it has kept its traditions. Nowadays that affection of art of west is more than past, artists must be commitment to the past their culture and art. Inspiring from traditional arts in contemporary Iranian painting is one of the ways to identity creation to the contemporary Iranian painting. Tendency to the handicraft in contemporary Iranian painting is the main purpose in this study. The aim of this research is attention to abilities of the handicraft in creation of identity to the contemporary Iranian painting, also it can help to durability of handicraft art and its relation with contemporary Iranian painting. Statistical community in this research is paints of eighth painting biennial. In this study hand craft has been introduced at first, and then presentation of every major of handicraft has been investigated in table. In this research recreation of handicraft in calligraphy, traditional designing, qalamkAr, , geometry of motifs, pottery, tiling, metal mesh, emboss, carpet, hand woven, carve, is seen in paints of eighth painting biennial. This study show that 12.16% of paints which has been choose to the contemporary Iranian painting, has used from handicraft. Also this research result that artists have the least attention to the، hand wove، carve and emboss (2.2% in every major) in inspiring of handicraft and most tendency of artist in this identity creation is related to the traditional designing (33.33 %). This research can focus the attention of artists to the handicraft which have more ability to affection on contemporary Iranian paintings and help to creation identity of paints. The method of this study is descriptive- analytical and method of collection of information is using the library information.